1980s Abstract Paintings

Robert Natkin Apollo, 617, 1982 Acrylic on canvas 48 x 55 inches RNa085 Celebrated as an unsurpassed colorist and for the beauty of his large-scale abstract works, Robert Natkin was...

Absit Nomen Michael Gallagher, American (1945) Date: 1981 Acrylic and Resin on Canvas, titled and dated on verso Size: 60 x 48 in. (152.4 x 121.92 cm)

Robert Natkin The Stranger, 1984 Acrylic on canvas 84 x 72 inches 213.4 x 183 cm RNa026 Celebrated as an unsurpassed colorist and for the beauty of his large-scale abstract works, R...

EMILY MASON Asiatic Rain, 1989 Oil on paper 29 x 23 inches 73.7 x 58.4 cm Signed (lower right recto) (MMG#32797)

Robert Motherwell Elegy Sketch 1980-ca. 1984 Acrylic on canvas board 15 x 29.5 cms (5 7/8 x 11 5/8 ins) RM-P80-2500 P1008 An early version of this work was photographed in 1980 (Sloman photo no. 1217). Studio photographs show that Motherwell modified the black forms and added the white lines sometime around 1984, without changing the overall composition. Exhibited: Solomon R. Guggenheim Museum, New York, Robert Motherwell, 1984, no. 106. Manny Silverman Gallery...

Robert Motherwell Shem the Penman #18 1983 Acrylic and charcoal on canvas 25.4 x 35.5 cms (10 x 13 3/4 ins) RM10044 P1068 Signed upper left and on reverse. Provenance: Dedalus Foun...

Robert Motherwell Open Untitled (Yellow) 1981 Acrylic and charcoal on canvas 30.5 x 40.6 cms (12 x 16 ins) RM10045 P1019 Recto upper left: RM Verso not signed,not dated Artist's stu...

Robert Motherwell Shem the Penman #19 1983 Acrylic and charcoal on canvas 25.4 x 35.6 cms (10 x 14 ins) RM13642 P1069 Recto, upper left: RM Verso: R. Motherwell \ 1983 Verso (on b...

Robert Motherwell The Studio 1987 Acrylic and charcoal on canvas 152.4 x 182.9 cms (60 x 72 ins) RM13966 P1140 When Motherwell made The Studio, in 1987, he was nearing the end of an...

Robert Motherwell Elegy to the Spanish Republic No. 163 1979-82 Acrylic and Conte crayon on board 59.1 x 74.3 cms (23 1/4 x 29 1/4 ins) RM14159 P1061 Elegy to the Spanish Republic No. 163 is a fine example of Robert Motherwell’s most acclaimed body of work, the Elegies to the Spanish Republic. As important as Barnett Newman’s zips and Jackson Pollock’s drips for their revolutionary contribution to art history, the Elegies are Motherwell’s most extensive series; he executed over 140 paintings using this motif, beginning in 1948 until his death in 1991. Nearly every major museum collection, including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Solomon R. Guggenheim Museum of Art, New York, and San Francisco Museum of Modern Art, have in their permanent collection an Elegy to the Spanish Republic. Intended to be read as a lamentation or funeral song after the Spanish Civil War (1936-39), Motherwell’s Elegies to the Spanish Republic are a lyrical and poetic memorial to the immense human loss and suffering endured during these harrowing years. Motherwell was a young student of twenty-one when the horrors of the Spanish Civil War commenced in 1936, and he would later reflect that it was the most “moving political event” of his youth. In 1939, the Spanish Civil War concluded with the fall of Spain’s democratically elected socialist government, which was deposed by a fascist coalition led by dictator Francisco Franco, whose dictatorship would persist until 1975. In 1948 nearly a decade after the end of the Spanish Civil War, Motherwell created his first Elegy with a small drawing to accompany a poem by Harold Rosenberg. Over the next four decades, Motherwell would pursue this same structural and thematic motif relentlessly; taken as a whole, the Elegies confirm the resounding impact that this war had on the young artist, and indeed stand as a powerful monument to the overwhelming loss during and in the aftermath of the Spanish Civil War. Motherwell stated: “I meant the word 'elegy' in the title. I was twenty-one in 1936, when the Spanish Civil War began…The Spanish Civil War was even more to my generation than Vietnam was to be thirty years later to its generation, and should not be forgotten, even though la guerre est finie.” (David Craven in Joan M...

Robert Motherwell Homage to Catalonia 1985 Acrylic on canvas 61 x 91.4 cms (24 x 36 ins) RM14749 P1116 This painting was begun in 1985 as a work from the Hollow Men series. By 1986 ...

A leading abstract painter in his lifetime, Dan Christensen drew from a range of Modernist sources to produce colorful, luminous compositions that featured giant dots, whirling loops...

A monumental Diptych painting with wood element collage by American artist, Kris Ruhs (1952 - ). The painting is signed and dated on (right canvas) overlap.

From the Target Series

Signed, titled and dated verso 1980 (11–’80) "RBY" oil on canvas Provenance: Irving Galleries, Palm Beach, Florida 1985; Private Collection, Palm Springs, CA ...

Artist: Arcangelo Ianelli, Brazilian (1922 - 2009) Title: untitled 1 Date: 1990 Medium: Oil on Canvas, signed and dated l.r. Size: 57 in. x 70 in. (144.78 cm x 177.8 cm)

Artist: Arcangelo Ianelli, Brazilian (1922 - 2009) Title: untitled 1 Date: 1990 Medium: Oil on Canvas, signed and dated l.r. Size: 57 in. x 70 in. (144.78 cm x 177.8 cm)

Ken Anderson (20th century) was active/lived in United States. Ken Anderson is known for Abstract hanging sculpture. *See included images and video

Victor Vasarely’s Op Art painting generates a sense of movement as it appears to warp into a sphere that is overlaid with stripes in a geometric pattern. Victor Vasarely, Hungarian ...

William Tillyer Untitled (The Westwood Paintings) 1989 Acrylic on canvas 61 x 71.1 cms (24 x 28 ins) WT9778

The artwork is signed and dated on the back and accompanied by a certificate of Authenticity signed by the artist. Luis Tomasello was born in La Plata,...

The artwork is signed and dated on the back and accompanied by a certificate of Authenticity signed by the artist. Luis Tomasello was born in La Plata,...

"Love and War," a collaborative series between Bert Long Jr. and Jesse Lott, features loosely human forms painted in a manner that suggests humanity’s proce...

Acrylic and mixed media on canvas, 1989, 25.4 x 120.02 cm. (10 x 47 ½ in.)

Robert Motherwell's "The Red and Black No.52" is an abstract collage that incorporates oil based etching ink, pasted papers, and aquatint on paper. The piece was created between the ...

Untitled (Capricci Series) is a mixed colored artwork realized by the contemporary Italian artist Pier Paolo Calzolari in 1982. Oil and tempera on board. Photo-certificate by Fonda...

Artist: Ales Lamar Title: Cervene Skvrny (Triptych) Year: 1984 Medium: Oil on Canvas, each panel signed and dated and titled verso Size: (Each Painting) 71 x 57 in. (180.34 x 144....

Jules Olitski Wolf, 1985 Acrylic On Canvas 8h x 12w in

Revelation, Kenji Yoshida, Nihonga, painting, Japan, Paris, gold, silver, black

An abstract expressionist, four-paneled painting by Papo Colo from 1986. A conceptual piece made by a multi-media artist who's work pertains to cultural identity and activism. Papo C...

'Hotjoustatdusk' by Stanley Boxer, 1985. Oil on linen, 38 x 65 in./ Frame: 39.25 x 66 in. This impasto painting has an active surface that is thickly painted with defined brush strok...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Gorgeous geometric abstract painting done in bright reds, yellows, and blues by Frank Holliday titled "GLORIA" in 1989. Signed, titled, and dated on reverse. Artist Biography: Frank Holliday (born 1957, North Carolina) is a painter who became known in the New York City art world in the 1970s and 1980s and is often associated with the East Village scene...

Geert van Fastenhout works in a long, respectable Dutch tradition of painting, that of geometric abstraction. He paints rectangular surfaces and beams in black and in heavy, covered...

Writings 117, Cheung Yee, handmade cast paper painting dark brown, turtle shells handmade cast paper painting. Oracle bones (Chinese: 甲骨; pinyin: ...

Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...

Presenting an original mixed media painting by American artist Jim Morphesis. The work of Jim Morphesis has been extensively collected and exhibited at numerous museums on both coasts, including the Los Angeles County Museum of Art. "The Black Vessel...

Premiering for the first time in three decades, the original paintings of American artist Maurice Green. Born in 1908 in Latvia, Maurice Green studied with prominent artists of the d...

An abstract painting by Tony Bechara from 1984. An abstract, optical painting representative of Bechara's conceptual principles of color usage, organization and randomness. Artist...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Technique: Terre colorée sur toile de jute. Delivered with the certificate of authenticity from the archives of Roberto Matta. Artwork size: 100 x 100 cm. Frame size: 114 x 112 cm. Free shipment worldwide. Acquired directly from the artist. “The heart is an eye,” writes Nobel laureate Octavio Paz in an essay on Matta’s paintings. Matta creates a world coloured both by a sunny faith in the future and by visions of impending doom. Roberto Sebastian Echaurren Antonio Matta, who died aged 91 on 23 November 2002, was born in Santiago, Chile, on 11 November 1911 into a family with Spanish, French and Basque roots, and raised in an atmosphere of religiosity. By the age of 21 he had graduated and begun work as an architect, but his leisure time he devoted to sketching and painting. In 1933 he travelled to Europe for the first time, visiting Greece, Yugoslavia, Italy and other countries, and subsequently taking the initiative to collaborate with the architect, Le Corbusier. As time passed, however, Matta’s enthusiasm for a career in architecture waned, and he began to devote himself full-time to art, making early acquaintances with surrealists such as Max Ernst, Salvador Dalí, André Breton and others. Between 1939 and 1948 Matta, like many of his artistic contemporaries, lived in self-imposed exile in the USA, but, after almost 10 years’ absence from Europe, he returned to make first Rome and then, a few years later, Paris his home. Throughout most of the rest of his life Matta commuted between his studio in Paris and his creative refuge in the monastery outside Rome. And it is here, in Italy, that he produced his greatest paintings. Matta’s first retrospective in Sweden was organised in 1956 when his works were exhibited in what was then Galerie Colibri – run by, among others, the artist C O Hultén at number 36 Södra Förstadsgatan in Malmö, Sweden. This was also the time when Matta began to collaborate with poets and other artists in Sweden. He produced the illustrations for Lasse Söderberg’s first anthology of poems, Akrobaterna (“The Acrobats”), published in 1955, and was also responsible for the cover of the Swedish art and literary magazine Salamander. In 1959 the first museum exhibition of Matta’s work in Europe was arranged at the Museum of Modern Art (Moderna Museet) in Stockholm. Held under the aegis of Pontus Hultén, it was entitled “Fifteen Forms of Doubt” and included 15 or so gigantic paintings...